The Rose of Sarai
Sharon is a level fertile plain between Jaffa and Mount Carmel in
Israel. In Hebrew the name derives from Sharai, a princess, from
whence are derived Sarai and Sarah, which again were ritual offices
With regard to the word rose, some dispute exists over exactly what
that means and those who are authorities on the subject describe it
i) a crocus
ii) a polyanthus
iii) a narcissus
iv) a cistus
However, if you consult a gardening encyclopaedia you will find that
the rose of Sharon is described as the hypericum or
St. John’s Wort
which, interestingly enough, produces a red dye and is related to
It is likely that in order to be described as a rose in the European
translation of the Jewish bible, it would have had to have looked
something like a rose, and in keeping with such an identification
the cistus comes quite close in its foliate resemblance to the
western, red and white Plantagenet rose, which we found growing
unabated around Janet March’s well in Carterhaugh Forest.
Furthermore the cistus is called the Rock Rose in Southern Europe
and North Africa.
The cistus is white with deep, blood red blotches, like the dappling
of menstrual blood. The cistus belongs to the family
cistacea and is
also known as the gum cistus whose botanical genus is ladanifer from
which is obtained laudanum, the dream-bestowing prize of poets and
visionaries across Europe and the Middle-East, including Thomas de
Quincy who, having taken it, were transported into the darkest, most
terrifying realms of the Underworld or the highest reaches of
Heaven, both being the deepest recesses of their own psyches.
Sheba, as the
Lily of the (Nile) Valley, the nymphaea lotus and the
the rose of Sharon: the ladanifer, was being likened unto a living,
narcotic pharmacopoeia. As neither of these plants grow in Northern
Europe, we have contented ourselves with the nearest familiar
symbols, those being the virginal Fleur de Lys and the
or English Rose.
The Rose represents therefore the magical menstrual flow of
Solomon’s beloved, whilst the name Sharon or
Sarah means princess.
The Rose of Sharon is therefore the Royal Blood, the
Sang Real; and
the San Graal, the Holy Blood of the Holy Grail or rosi-crucis. As
the Latin Ros-Sara or rosary which is devoted to the Virgin Mary,
the pure white Lily, which itself is the "dew of the princess"
The word Rose in Germanic means Horse, from Hros, a deity who is
identifiable with the goddesses Rhiannon and Epona, who were
symbolized by the white mare and immortalized in chalk, hill
carvings across Britain.
By a lucky stroke of fate, or under the power of "the single poetic
theme", as Robert Graves would have it, The Hros, like
Rhiannon, Epona (and the Hindu Breghi Moru) were the goddesses who
conducted the King to the Otherworld and to the goal of sovereignty.
This was exactly the job of Sheba, the Rose of Sharon, and all the
other watery nymphettes in history. So the Rose of Sharon, whilst
referring to the flower of the royal menses, also refers to the
function of that fluid as a method of transport to the otherworld.
Again death is implied by Hros because Epona and
especially Slepnir, are symbols of the white draped funeral byre
carried by four men who, like Slepnir, have eight legs.
Slepnir, the white horse of Odin is Rhiannon, the
elven mount of the
Welsh Arawn or Death, the grim reaper who (like Jesus
* who "brings a
sword to separate the quick from the dead") scythes the spirit from
the flesh. Arawn, Lord of Annwn, in the story
of ’Pwyll Lord of
Dyfed’, leads a pack of red-eared, red-eyed hounds in the hunt for
the red-eyed white hind, who is the virgin, elven princess who, like
in the stories of Odin or Hearne the Hunter and the Wild Hunt for
elf women at Samhain, is the source of truth.
* The image of
Jesus as the grim reaper or Repha’im is consistent
with his cultic role in the Egyptian mysteries. Significantly the
verse that this passage is taken from refers to Jesus as coming with
a sword, the spirit or Torah, to separate the "quick" - the divine,
Immortal spirit, from the dead - the material soul or "dead flesh"
of the unregenerate mind created from the "flesh" of mortal
experience. In vampirism the process of awakening the cerebral
centers is called "the quickening".
In Indian love poetry the vulva has been referred to as "the
footprint of the deer" and we may equate both the Hind and the Hros
respectively with the physical and spiritual aspects of the Virgin.
The Hart or properly the hind in the thicket, so beloved of Graves,
is the poetic truth hidden by the pubis, like the tangle of thorns
that hides the castle, the enclosed fastness of the princess’s
virginity in Sleeping Beauty.
Rapunzel’s tower, her inaccessibility, is likewise a symbol of the
princess’s virginity. The hounds of Arawn, Odin and Hearne,
consistently in all these stories, represent the retinue of elf
nobles who, in later times, were mimicked in the Wild Hunt by the
race of the rustic youths around the maze for the virgin prize at
its centre. Rapunzel’s tower also represents her elevated
consciousness as a Grail Maiden. By using her red-gold hair to climb
the tower, in other words by following the Rtu or blood flow to, and
consuming it from, its source - id est Rapunzel - both the witch;
and the knight who supposedly rescues her, are able to climb to new
heights of cosmic consciousness. Rapunzel’s hair is both Ariadne’s
and Sleeping Beauty’s red-gold thread of the menses. The knight has
no intention of rescuing Rapunzel. She can’t be rescued from a
figurative narrative construct, she is a feeding female and the
witch and the knight are the Dragon Queen and the vampire Prince who
are her clients. The only way of ’rescuing’ Rapunzel from the tower
is to rape her, and rob her of her virginity and her transcendent
vision which is symbolised by that tower. Some rescue attempt that
Card 13 of the Major Arcana of the Rider-Waite Tarot is entitled
"Death". 13 is the number of the Moon and specifically of the
menstrual cycle. Riding Epona or Slepnir, the red-eyed white horse
of Elphame, the skeletal figure of the grim reaper rides across the
field of life in a black cloak and full armour, trampling the noble
and the humble alike under his horse’s hooves. In his hand he
carries the banner of the white rose of the spirit on a black field.
However, this is not a funerary plant.
The white rose, like the red rose,
symbolizes love, but which in
this case is philea rather than eros. The horse’s reins and livery
are black and adorned with skulls and crossbones, which we
understand to be representations of the Baphomet or
Behind him in the distance lie the twin towers that feature in
another major Arcana card - "The Moon". Beyond the towers the sun is
shining above the dark horizon.
The towers, the horns of the Sabbatical Goat, represent the open
legs of the priestess-goddess and the glow of the sun, like the Hallowe’en candle on the seesaw, or the candle between the goat’s
horns, is the glow of the red-gold of the virgin menses and the
chakra or sephiroth of the womb. This symbol is replicated in the
second card, "The High Priestess", dealt with earlier.
This again is a card of "the love that brings death" and the
reaper symbolizes, not physical mortality, but the victory of transcendence
over mortal pomp and materialism and the life-that-is-death. In such
a context therefore - Death as Initiation - the white rose of the
spirit and pure love, is identical with the red rose of Sharon,
inasmuch as the red rose does not herein symbolize sexual passion,
but the menses-smeared rose of the vagina’s foliate aperture,
contact with which brings the spiritual purity symbolized by the
pale flower of Death’s banner.
Like doves, roses are sacred to Venus who as Ishtar and
"bright and morning star" is the bringer of light and enlightenment.
Venus’ emerald jewel, the hermetic tablet of destiny (also the
Fail of the Scythians) is called the jewel in
Satan’s crown which,
when it "falls" or is reversed becomes the hidden "cubic stone", the
dark, oozing monolith of the hidden Grail, concealed in the recesses
of the body of the Swan Princess, the naiad, from whom one might
obtain "blood out of a stone".
The reversed emerald tablet, the cubic stone darkened by its
concealment, is the subject of two 15th century paintings - "Livre
du Coeur D’Amours Epris" and "Melusine by the Fountain". In both
these paintings, the image of a black marble block from whence flows
a curious fluid, is repeated. In French legend Melusine’s well
fountain are the source of both joy and sorrow, much like the Croix
This sentiment is repeated in "Livre Du Coeur D’Amours Epris", which
warns that misfortune will befall him who drinks from the water that
issues from beneath the stone. The knight in the picture, as in all
stories connected with Venus’ Jewel, is further warned not to pour
water over the stone itself.
Such would constitute christian baptism, which was viewed by the
Bloodline as a defilement, and a debasement of their pure spirits by
an invasive and hostile alien culture. Like Melusine’s black stone,
the one depicted in "Livre" engenders the "Heart’s longing for Lady
Grace" and consequently, like Melusine’s, it is a fountain of thirst
because, after one taste of its "waters" the ego’s longing for
material peace or security ceases but is replaced by the spirit’s
longing for enthea, its westward journey home to the love that is
The Song of Solomon
The authorship of the Song of Songs is attributed to King Solomon,
probably because the subject matter dealt with has an underlying
Hermetic, esoteric character which accords with what is known of
Solomon’s ritual practices.
Less probably because he originally compiled it in its entirety.
Nevertheless it is quite possible that he wrote certain aspects of
the song which perhaps were added to later by subsequent poets or
scribes. The overall syntax of the manuscript form of the Song of
Songs, compiled circa 450-400 BC, is Aramaic, and was deposited in
the School of the Temple of Solomon in Jerusalem.
The original piece is said to have derived from early oral sources
and belongs to the genre of ancient Egyptian love poetry. The song
also bears a striking resemblance, from a secular point of view, to
near eastern love poems.
The Temple School was probably destroyed and its teachers dispersed
during the destruction of Jerusalem by the Romans. A number of christian Nobles were said to have fled
Palestine at that time which
led, it is further attested, to the introduction of vampirism into
This isn’t strictly true, but a new wave or variation of the cult
could have been reintroduced then. It is also very likely that many
kabalists and rabbis also fled and settled in less hostile districts
in Europe following the destruction of the Temple.
In this way could be explained the appearance of "Solomon Schools"
in places like Hermannstadt, Toledo and
Carpathia, which one assumes
were outposts or exiled cells of the original Temple of Solomon
School in Israel.
It was from one of these institutions, renowned for alchemy, kabala
and Hermetic lore that Dracula was said to have "ridden the dragon",
meaning that he was the principal graduate. Following this
illustrious academic career Dracula, who claimed to have derived his
name from his apostolic priesthood of the Egyptian cult of Draco,
embarked on a reign that was marked by his overt practice of
Solomon was what some might call a pagan and a great deal of fairy
lore and a great many gods from Eurasia filtered into and influenced
Jewish culture during Solomon’s reign. The christian bible tends to
blame this state of affairs largely on Solomon’s choice of wives,
who were said to have brought these strange abominations with them.
This explanation doesn’t however take into account the fact that
Solomon himself was deeply committed to and involved with Hermetic
sciences and dark magic.
Solomon had, as wives, 700 royal princesses gathered from all over
the near east. In addition to these he had a further 300 concubines
and these comprised his Harem. A rather excessive and self indulgent
amount of women simply for the purposes of providing one man with a
variety of copulatory partners.
We are then obliged by our own curiosity to ask why Solomon kept so
many girls around at such a large cost. If we take another look at
the word herem we will find the answer. From the OED we learn that
the English word ’Harem’ is taken from the Arabic haram, and means a
sacred or prohibited place.
The term sacred could only be attributed if the haram, the building,
or more appropriately the institution within the building, were in
some way spiritual or religious. In the Oxford Companion to the
Bible it states that the word harem has a cognate in the Hebrew
herem, which is translated into the English ban.
Specifically the herem or Harem, as a ban, was something set apart
for cultic use, to be used only by priests, and thus a Harem is
understood to be spiritual and holy, not simply a royal bordello or
an amusement arcade.
Such a reflection brings into question the actual purpose of Arabic
and near eastern herems in general, particularly in the light of the
fact that, in Arabic mysticism, the Sufic "tree of life" is a
Tamaris or Palm tree, beloved of the Phoenix, whose leaves comprise
of the many-eyed tail feathers of the Yedzidic peacock god of
Mesopotamia - Shaitan, who was worshipped in rituals of blood.
"He feedeth amongst the lilies" Song of Solomon, Chapter II, vs 16:
Sheba enjoins Solomon to feed amongst the lilies until the break of
day, like a young hart on the mountains of Bether. A lily is a
virgin and thus Solomon by night feeds amongst the Virgins, the
virgin princesses of his "Harem".
The medieval kabalists proposed a sacred code as a key to
translating the hermetic secrets of the Song or "Canticle of
Canticles" as it was also known, whilst some commentators have
asserted that the work was derived from (Egyptian) cultic origins
and was part of a rite of sacred marriage, a fertility ceremony and
a ritual to ward off death. (James M. Reese).
These three components together adequately describe, in its
entirety, the organic-alchemical rite of vampirism which is itself a
sacred marriage, a union of enthea, intended to open the mind to
creativity and transcendent perceptions, thus stimulating spiritual
fertility and increasing longevity, or warding off death if you
The Song of Solomon is a Blood Rite, a communion where the wine, the
blood, of the virgin goddess is drunk. This rite remained in the
House of David until
Jesus ben Panther’s time when it was
re-instated by him as an exoteric ritual for his disciples.
Solomon’s harem was a blood farm and the females in it were there to
feed him, to increase his wisdom and lengthen his life.
Sheba seems to have been the first lady amongst many and throughout
the discourse she continues, like them, to retain her virginity. In
taking a closer view of the evidence we will inspect the following
passages. Chapter II vs 16-17; Chapter IV vss 12-13; Chapter IV vs
15; Chapter V vs 5; Chapter VII vs 9 and Chapter VIII vs 2.
Chapter II vs 16: "My beloved is mine and I am his, he feedeth
amongst the lilies".
vs 17: "Until the day break and the shadows
flee away, turn, my beloved, and be thou like a roe or a young hart
upon the mountains of Bether".
As we have seen, feeding amongst the
lilies is feeding from the blood and water of the
The hart on the mountain symbolizes the young king in his glory and
the medieval symbol of the young stag drinking from the Grail is
directly related to these verses.
Chapter IV vs 12 "A garden
enclosed is my sister, a spring shut up and a fountain sealed".
Sheba is a virgin throughout the Song and her maidenly attributes
attract various epithets. In this verse we find the three main Grail
symbols associated with the priestess: The garden, the
well and the
Here these are enclosed and sealed indicating Sheba’s maidenhood and
her guardianship of an "underground" (hidden) stream or source of
arcane vitality expanded upon in the next verses.
Chapter IV vs 13 "
Thy plants are an orchard of pomegranates (Grove: cf. Avallon) with
pleasant fruits; camphire and spikenard".
Whilst the Indian spikenard (spica narda) was used by
to anoint Jesus, the pomegranate is a standard symbol of the
vulva and womb and Sheba’s garden of pomegranates has in
Chapter IV vs 15 "A fountain of gardens, a well of living waters..."
which cause those who are asleep to speak as we shall see.
living waters in other scriptural references is related to the Holy
Spirit, as is fire. Water as we remember was the element through or
over which one travelled to elphame in Celtic lore.
Elphame here equates with the Underworld
or Otherworld, the kingdom
of heaven or samadhi and the living waters contain in their droplets
the secret of eternal wisdom and the gift of transcendent awareness,
god consciousness. The Holy Spirit, the Shekinah, is of the feminine
gender and a female gift therefore.
In alchemy blood and semen are the primae materia or first matter of
the great work. Sadly however, many think that only men have semen
(an ignorance of female anatomy and physiology that has caused a
great loss to our womenfolk) when in fact women also have it and
this semen, from the well of living waters, is what alchemical texts
are actually referring to.
Those who are familiar with the Templar story concerning their
of Sidon will recollect that the skull which comprises the skull and
crossbones motif, as a symbol of the Baphomet - the
Holy Grail - is
derived from the skull which was placed between the thigh bones of
the Templar’s dead wife, butting up against where her vagina once
was, nine months after an act of knightly necrophilia.
The wife’s name in the story was Yse de Maraclea or Isis (of the
clear waters: Mara-Clair). The skull, the Templar’s "son",
represents ancient wisdom from beyond the grave and that, in its
positioning between the woman’s thighs, such wisdom is obtained by
uniting in hierogamy with one of the Goddess-Queens of the death
cult of Ankou - Isis.
Such a union, similar to that expounded by the Scythians in relation
to Epona or Rhiannon results in the birth of the
Templar’s son: the
skull; the wisdom from beyond the mortal realm. This wisdom is
directly related to the feminine principle, hence the proximity of
the skull to the vulva, denoting the interconnection between the
pineal gland and the womb, the well of living waters.
Chapter V vss 4 - 5: " My beloved put in his hands by the hole of
the door and my bowels were moved for him".
vs 5: "I rose up to open
to my beloved; and my hands dropped (dripped) with Myrrh, and my
fingers with sweet smelling Myrrh (vaginal mucus), upon the handles
of the lock".
The hole of the door is the keyhole, the opening of the vagina,
whilst the handles of the lock are the labia.
The door is daleth or delta D: the door to the mysteries and the
triangle of the "all seeing eye of god" (that looks into the
darkness) which in Hebrew is called Ayin or ’The Devil’, whose
number is the same as the numerical rank of Ishtar or Venus in the
assembly of the Anunnaki gods - 15.
In verse 4 the beloved manipulates the maiden and her "bowels" (a
common word used in classical literature which referred to the
deeper internal organs, not just the intestines) are moved for him.
In other words she orgasms, her womb contracts and in so doing she
rises and opens her vulva for him to drink the blood or seminal
fluid discharged by the spasm.
In references to the Fisher King, it is said that he drank the
contents of the Grail through a golden straw. Very importantly, when
thinking of the construction of this device, we should remind
ourselves of the shape of both the Ankh Cross and the Crux Ansata.
Such a device would have been inserted into the virgin’s urethra to
the depth of about one inch, whilst the partner in the rite inserted
his or her finger into the vagina and massaged the "roof of the
mouth" or the uppermost wall of the channel nearest the opening or
’mouth’ of the vagina, behind the pubic bone.
After a few conducive minutes perhaps, orgasm would occur and the
fluid from the gland would discharge itself through the straw,
either into the waiting mouth of the recipient, or into a "Grail
Platter" or dish held next to the vulva. In one publication the dish
and the straw were confused with surgical instruments that the
author thought were used for castration. This is not the case. The
symbol of the Grail as a Dish is related to its use as a collector
of blood or female ejaculate and is sometimes symbolized by the
crescent moon (see above).
If we read Chapter V vs 5 literally, the maiden has been asleep with
her hands in the spice jar and her fingers are covered with myrrh
oil as a result. She then hears her lover at the door and, rather
than noticing her mistake and wiping her hands, she goes straight
way to open the door and covers the handle in grease.
Such an interpretation makes no sense whatsoever. If she had been
asleep with her hands (plural) in the ointment, she must have either
been a contortionist or a devotee of an odd form of nocturnal skin
care therapy. In any case, if it were not a pertinent symbolic
aspect of the narrative, there would be no justification in
mentioning it. Therefore by its very inclusion in the text, we are
obliged to look for a meaning that transcends the literal
Myrrh (Latin: myrrha. Greek: murra - murra) is a gum resin produced
from several species of the commiphora balsamodendron, also known as
commiphora myrrha. The oil of myrrh is produced from the seed which
is known as myrospermum pubescens, and the etymological link here to
female ejaculate should be meditated upon. Myrrh or the "myrrh tree"
is also a name for the plant called sweet cicely or myrrhus odorata
(related to chervil) but, as a name it is further applied to any
tree producing this type of resin.
We should bear this in mind as we look at myrrh as a word in itself.
Although the Latin species classifications are late, deriving from
Linnaeus, in many instances the original names from whence they came
are Greek. We notice that the word myrrh begins with the letters
and there is a group of plants and substances whose names begin with
this syllable that are relevant to this discourse. Firstly we
encounter the plant tamariscus and remember the name Tamaris which
was applied to princesses of the House of David.
Tamariscus or tamarix grows in sandy conditions in west Asia and is
known by the Latin name myrica, a name which also applies to the bog
myrtle: myrica gale. The Myrtle Tree is found in a medieval Italian
story about a fairy lover who is the spirit of the plant, which
lends itself to the idea that the story was extracted from far
earlier sources and that the Tamaris Princess was the original
"fairy lover" or in Gaelic the Anam Cara or
Myrica-tallow or myrica wax are produced from myrtle trees whilst
the substance myricin is the insoluble component in the wax that
bees produce to construct HIVES.
In the Tudor song "The Nut Tree" the tree in question will only bear
a silver nutmeg and a golden pear. The nutmeg is known by its Latin
name as myristica from the Greek word murizein - murizein, meaning
Nutmeg contains the chemicals which, when refined are known as
or "Ecstasy". In trials conducted on the Nile Lily or
lotus the plant produced similar euphoric, but less strident,
effects to those experienced by users of MDMA.
Nutmegs produce an oil with this drug in it and the association with
anointing and the Christos is quite telling. The golden pear on the
"Nut Tree" is a pomegranate which was often called by the former
In Old French pomegranate was spelt pome grenat, meaning "apple of
many seeds" from the Latin malum granatum, and here we return to the
Avallon connection and the pomegranate as the original perhaps of
the later regional and literary variation - the Druidic and Edenic
The pomegranate belongs to the family myrtaceae, whilst its partner
on the legendary "Nut Tree", the nutmeg, is of the family
fragrans, the "musk smelling nut". Musk is a name given to any group
of scents which are produced by the sex glands and used as sexual
Returning to the Song of Songs we now find that the
pomegranates and myrrh in the narrative are etymologically related via
Myr, to a
whole series of plants and substances within grail lore which are
associated with the sephiroth, with psychotropic states and with the
Perhaps the myrrh of the ’Song of Songs’ is the oil of the "Musk
Smelling Nut", the ejaculate, which then becomes associated with the
sweet wine of the pomegranate, the menses, thus forming the
partnership between the rose of Sharon and the lily of the valley.
Again we are reminded here of the Irish story of the blood red nut
that fell every 28 days into the Well of Nechtan (the pure one) to
be consumed by the salmon of wisdom - the Ichthys of the New
Testament. From there we travel back to the Orchard of Pomegranates
in the garden of the Well of living waters.
In Chapter VIII vs 2 Sheba says to Solomon " I would lead thee and
bring thee into my mother’s house, who would instruct me; I would
cause thee to drink of spiced wine (nutmeg?) of the juice of my
Notice "my" and the singular
pomegranate, as opposed to the fruits
plural. She is not inviting him in for drinks and she is not
referring to a beverage here, but the blood and mumae of her vulva.
Pomegranate flowers, seed cells and juice are red, like blood.
In Chapter VII vs 9 "And the roof of thy mouth like the best wine
for my beloved, that goeth down sweetly, causing the lips of those
that are asleep to speak".
The euphemistic "roof of the mouth" is
the region by the opening or "mouth" of the vagina, behind the pubic
bone, where the semenal duct is located which secretes ejaculate
through the urethra.
The chemicals in these secretions increase perception and wisdom,
enabling those who were "asleep", meaning unregenerate or
untranscended, to speak with the words of the quickened or
Sheba, the rose of Sharon and the lily of the valley, describes
herself as black but comely. In so doing she has initiated a
tradition where many scholars down the centuries have confidently
stated that she was from Sheba in Ethiopia.
However, the constant, relentless reference to "my sister, my
bride", whatever anyone says about terms of endearment in Biblical
times, indicates that Sheba was the daughter of Bathsheba and as a
consequence, the sister of Solomon. This is hardly surprising as he
descended from a pharaonic bloodline where brother-sister marriages
were de rigueur.
The reference to her being black relates to her other epithets as
Sheba-Lilith and Sheba-Venus or Ishtar (Inanna) which associate her
with her ancient dragon ancestry, and to her forebears Lilith
(Diana), Inanna, Kali Azura, Hecate and Black Annis who, like
is associated herself with wells and labyrinths, and who was a
principal figure of veneration in the Cult of Ankou.
Solomon conversely is described as having skin as white as marble.
In exoteric, uninitiated and therefore "best-guessed" vampire lore,
it is said that such a complexion is equated with their being
Nothing could be farther from the truth. Recent laboratory tests
confirm the ancient inner tradition by showing that any animal
injected with large amounts of melatonin turns paler in colour.
Solomon’s complexion, like that of the vampire of legend, is as
white as marble because, like they, he fed constantly from
melatonin-rich royal, female virgin blood.
A lot of the additional etymological associations here are
retrospective and poetic. Nevertheless the central theme of the
story stands up to a classical alchemical interpretation whilst the
Latin and Greek word relationships add a quality of resonance to the
picture and further echo Graves’ concept that the Cosmos has meaning
and intelligence, expressing itself through a single poetic theme of
interconnected meanings, the like of which inspired the ancient
Hermetic Table of Magical Correspondences.
George Riley-Scott (’Phallic Worship’) points out, and is
supported in his view by other academics, that,
the Bible has been
altered down the ages to suit the ambitions of the translators of
This being the case we must remember that much of
the Bible has been
cleaned up and passages dealing with incest, along with various
other unseemly practices, have probably been given a narrative
reworking to suit the sensibilities of various pious audiences and
An example of this might be found in Chapter VIII vs 1 which says,
"Oh that thou
wert as my brother, that sucked the breasts of my
Wert is printed as an italic -
wert, denoting a translators
insert. Remove this and you get a different picture.
Chapter VIII vs 5 claims that Sheba was born "Under the Apple Tree"
and suggests that she was spoken for when she had no breasts. If she
was a virgin, "a wall", says Chapter VIII vs 9, Solomon would build
a palace of silver upon her, but if she were a door, he would board
her up with cedar.
Sheba replied by saying that she was a wall and her breasts
thenceforth were the towers of the palace that Solomon built upon
it. The edifice of Solomon’s glory, the palace of his wisdom, was
built upon the virginity of Sheba and the essence of the womb of the
princess born under the apple tree, reminiscent of Avallon and
sacred to the Druids.
If the Song of Songs can be seen as a deliberate contribution to the
poetry of the Dragon culture, which has at its centre the maiden’s
labyrinth, the Garden of Love, then the
Song of Songs begins to make
sense as an Hermetic, alchemical vampire allegory of the love of the
dragon prince for his maiden, a sacred chemical wedding which is the
source of his power and sovereignty.